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Staff: Mihail Mygalenko
Grupos: Guaco : Into The 90s: Conquer...
Grupos: Guaco : The 3rd Phase: 86-91
Grupos: Los Van Van : Músicos
Grupos: Manolito y su Tr... : Músicos
Grupos: Guaco : 80-85: The Ricardo He...
Reportes: From The St... : Cubadisco 2...
Musicos: Lily La Amazona del Sabor
Grupos: Calixto Oviedo Mulens
Grupos: Calixto Oviedo M... : Discography
Grupos: Guaco : A Very Special Trilog...
Grupos: Guaco : The 1970s
Staff: Bill Tilford
Reportes: Curuyé in LA
Grupos: Guaco

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Se llama sabroso - ZONA FRANKA

Discography - Into The 90s: Conquering Venezuela 93-2002

1993 - Triceratops - Sonorodven

01- Todo Quedó Quedó (Jorge Luis Chacín) 3:44
02- Mi Tío (Rafael Greco) 4:40
03- Luciana (Rafael Greco) 4:12
04- Siempre Juntos (Jorge Luis Chacín) 4:10
05- Detalle En Falso (Jorge Luis Chacín) 3:52
06- Ahora No (Jesús Rizzos/Jorge Luis Chacín) 3:56
07- Quiero (Miriam Torres/Jorge Luis Chacín) 3:32
08- Cómo Poder Olvidarte (Jorge Luis Chacín) 4:26
09- Llegaste Tú (Jorge Luis Chacín) 3:23
10- Di Que No (Ramón Rosado) 3:34
11- Regalame Tu Amor (Omar Hernández) 4:35
12- Las Caraqueñas (José Quintero) 3:52

Personnel: 

Vocals: Gustavo Aguado (tracks 04, 05, 06, 12), Nelson Arrieta (tracks 01, 03, 09, 11), Jorge Luis Chacín (tracks 07), Rafael Greco (track 02), Sundín Galué (track 08, 10)
Piano: Agustin Espina
Keyboards: Jorge Luis Chacín
Programming: Juan Carlos Salas, Rafael Greco & Fernando Valladares
Bass: Morritz Beroes
Lead Trumpet: Luis "Papo" Márquez
2nd. Trumpet: Juan Carlos Salas
Trombone: Norman Cepeda
Tenor Sax: Rafael Greco
Alto Sax: Marcos Salas
Tambora: Yonis Flores
Charrasca: Alexis Moreno
Timbales: Julio Rivera
Congas & Percussion: Nestor Pérez
Bongos & Percussion: Francisco Lujan
Drums: Fernando Valladares
Background Vocals: Gustavo Aguado, Nelson Arrieta, José Luis Chacín, Marcos Salas & Luis Papo Márquez

Guest Musicians:
Vocals: Kiara (track 04)
Guitar: Pedro Castillo (track 08)
Background Vocals: Guillermo Carrasco (track 04), Pedro Castillo (tracks 02, 04)
Bata Drums: Miguel Urbina, Jhonny Rudas & William Hernández

Production Credits:

Produced by Juan Carlos Salas, Jorge Luis Chacín, Rafael Greco & Gustavo Aguado
Recorded & Mixed by Hermes Carreño
Assistant Engineers: William Silva, Miguel Angel Larralde & Clemente Hernández
Recorded & Mixed at Estudios Telearte & Larralde Estudios (Caracas)
Graphic Design: Krearq Proyectos 4x0, C.A.
Photo: Viviam Marcuzzi

Just as there was a quamtum leap from 1979 to 1980, it also happened from 1992 to 1993. It was due to a variety of reasons. First, Valladares sold the Roland electronic drums behind Gustavo's back and went on to buy an acoustic Sonor drum set. A Sonor Force 3000 to be specific. See, in the electronic drums days, there was no monitor for the other musicians as it went straight to PA. So other musicians couldn't hear what Fernando was playing and he could barely hear himself. Worrying, as he was the guy supposed to be carrying the tempo. plus there was a variety of drum figures we wanted to try on the drums that were impossible to play on the Roland set.

Fun sidenote: I've actually seen both sets in the flesh. The Roland drums were sold either to a fellow gaita group or a church group. The pads were eventually parted out and sold individually. A fellow musician bought a pair and I got the chance to see ithem We all were in awe just standing next to it. Such is Guaco's legend around town. The Sonor drums were gifted to a student of Fernando, whom still played it around Maracaibo in various working bands. 

The second reason: Jorge Luis Chacín joined. The young man was already a Carangano veteran, where he played bass and wrote roughtly a third of their material. He was already an up-and-coming songwriter for hire in the Maracaibo scene, he had even written some songs for Guaco in 1990 and 1991, but he got the invitation to join in 1993 and he was given free rein to write most of the material. Imagine if Angel Bonne had been given a chance to write most of Van Van's material and you can picture how such a move was brilliant. Chacín's songwriting is both warm, romantic and open-hearted, but also no slouch on the harmony department, as he also studied with Gerry Weil. 

Also, but no less important: Francisco Lujan -from Carangano, yet again- joined in bongos and minor percussion (he actually had a big percussion set with guiro, shakers, bells and other gizmos), Morritz Beroes came in on bass and cuban trumpeter Luis Papo Márquez joined in lead trumpet. Finally, it was this line-up who were given the opportunity to record in the studio together and show off their collective chops. Machines were still there, especially present on some songs intros, but generally speaking they were free of their constraints. 

The impact this album had was enormous, as half the album was a national hit, they were playing live almost daily and it showed the members that taking such a big risk musically could be rewarded with commercial success. From 1993 up till 2001 no band was bigger in Venezuela than Guaco, they could not be stopped, they had a dream team collection of musicians and each album they made was an absolute masterpiece. 

The album opens with an absolute classic in Todo Quedó Quedó, a song that Guaco still features heavily on their set. Arrieta's performance is something of a milestone thoughout the album, but he was never finer than on this particular recording. The arrangements flip flops between romantic salsa and a heavy-set guaguancó con the chorus. Victor Manuelle later did a version, but it pales in comparison. 

Mi Tío written by Rafael Greco is fan favorite by diehards everywhere. The song is based on a true story: Greco's uncle was an italian immigrant who made life in Venezuela and started a dance band. Luciana, also by Greco is a first-rate songo and an exquisite arrangement. It starts with a Game of Where's One?, displacing the downbeat for the entirety of the intro. The first mambo bridge at around 1:57 seconds in, the bass and drums go off in a Genesis-inspired 11/8 polyrhythm, that syncs every 4 bars. It ends with bomba gear. 

Siempre Juntos was yet another smash, a dued with pop star Kiara, she adds more of a rock n'roll vibe to her singing and the song is way better than their duet with Karina in 1990. Detalle en Falso is a gorgeous song and their purest tamborera recording since the 70s. Ahora No has many things in common with timberos of the time: for instance, the fact that it beings with a miniature composition as an introduction. It starts with batá drums playing in heavily swung 12/8 before playing a wicked bloque an entering the song proper. Just like in Todo Quedó Quedó, it swtiches between steady marcha in the verses vs guaguancó in the chorus. 

Throughout the album Valladares plays the standard Guaco rhythm for drums on montunos: whereupon the hi-hat plays cascara (or campana, depending) and the snare falls on the backbeat on side 2 and then it is followed by an open hi-hat stroke on the upbeat. Compare this to the hi-hat work in the mid-80s (Tercera Etapa onwards), where the hi hat was opened every upbeat. 

Quiero is a fiery guaguancó inspired piece (please note the melódica-and-bass intro) that makes great use of Sundin's mature and emotionally resonant voice. This was one of their preferred songs to play live around this era and they usually repeated the last mambo to extend the last montuno section. Como Poder Olvidarte marks the first recorded lead vocal by Jorge Luis Chacín. By 1993 he was in the back, playing keyboards but in the next album he would be brought forward to the singing line-up. If there was any doubt Guaco were not huge prog fans, this should make it clear. They can't get enough. 

Llegaste Tú is just as good as Quiero, with a defyiant turn on vocals by Nelson, who spits out guías like a tonguetwister contest. Plus 2 batá breakdown with bomba slides included! Dí Que No was arranged by Valladares and is a welcome respite from the fire. A personal favorite with fun bloques inserted throughout, the track ends on a 5/4 bass and drums jam that recalls a bit of Sting's Seven Days. 

Now, dear reader, you might be wondering why is there Regálame Tu Amor repeated on this album because it was released already on Guaco 91? Well, the story goes Gustavo was disappointed it didn't make enough of a splash (apparently it got some airplay in Maracaibo, but that was it), so they added tambora and charrasca and it was remixed and voilá, it paid off! The song was a smashing success and one of their most violent live vehicles. Trust your instincts! 

Finally, this masterpiece ends with Las Caraqueñas, known to salseros worldwide by the version made by Ricardo Ray and Bobby Cruz. However, it must be noted the song was composed by José Quintero, Venezuelan born and leader of a son sextet. (His son, Frank Quintero would later go on to be one of Venezuela's greatest pop stars in the 80s and something of a yacht rock king, but that's fodder for another article for another time). Apparently it was cuban Márquez, who added the last coro and some of the guías. I'm also guessing he may have given the band an NG La Banda cd, or maybe they found it on their own. Anyway, Las Caraqueñas was like the 8th smash single on the thing. It sounds weird, but this was kind of the Venezuelan Thriller. It was played on the radio straight though some days and the band toured the album for 2 years straight. 

Not everything was perfect though. The album was recorded on a decaying studio, just about to close down. It was mixed on a makeshift console and apparently and most egregiously, it was never mastered! The mix is pretty good, though but there's a reason why the volume seems so low while playing it. Sadly, it seems like the masters have not survived or the band has little to no interest in remastering the album. tt truly deserves an anniversary deluxe edition, but that may never come to pass. 

1995 - Archipiélago - Hecho A Mano

01- La Lechuza Blanca (George Gourdet/Adapt: F. Valladares) 2:37
02- Castígala (Omar Hernández) 4:10
03- Como Será (Jorge Luis Chacín) 4:32
04- No La Juzgue (Jorge Luis Chacín) 4:36
05- Noche Tras Noche (Jorge Luis Chacín) 3:42
06- Como Es Tan Bella (Jorge Luis Chacín) 3:32
07- Amor de Primavera (Jorge Luis Chacín) 3:34
08- Quiero Verte Hoy (Jorge Luis Chacín) 3:18
09- Que Cobardía (Omar Hernández) 3:53
10- Simplemente (Jorge Luis Chacín) 3:44
11- El Sueño De Simón (Jorge Luis Chacín) 4:32
12- Así Son Boncó (Joseito Fernández) 7:11

Personnel: 

Vocals: Gustavo Aguado (tracks 02, 11, 12), Jorge Luis Chacín (tracks 03, 10), Luis Fernando Borjas (tracks 04, 06, 08), Nelson Arrieta (track 05), Sundín Galué (tracks 07, 09)
Piano & Keyboards: Agustin Espina
Keyboards: Jorge Luis Chacín
Bass: Morritz Beroes
Guitar: Roldán Peña
Trumpet: Juan Carlos Salas, Gustavo Aranguren, Germán Quintero
Trombone: Norman Cepeda
Tenor Sax: Rafael Greco
Tambora: Yonis Flores
Charrasca: Alexis Moreno
Timbales: Julio Rivera
Congas: Nestor Pérez
Bongos & Percussion: Francisco Lujan
Drums, Acoustic Guitar & Keyboards: Fernando Valladares
Background Vocals: Gustavo Aguado, Nelson Arrieta, Sundín Galué, Jorge Luis Chacín & Luis Fernando Borjas

Guest Musicians:
Vocals: Simón Díaz (track 11)
Tenor Sax: Julio Flores (on all tracks)
Tres: Pedro Vilela (track 02)
Quinto/Chekere: José Martinez (tracks 12/03)
Background Vocals: Carlos Esposito (tracks 02, 04, 11), Pedro Castillo (tracks 04, 07)
Narration: Iván Loscher (track 01)

Production Credits

Produced by Gustavo Aguado
Recorded & Mixed by Germán Landaeta
Recorded & Mixed at Sono Dosmil (Caracas)
Mastered at Bernie Grundman Mastering (Los Angeles, CA)
Graphic Design: Zaida Rodríguez N. & Rosa Alvarez M.
Photo: Teresa Carreño

Oh, boy. Full disclosure: Archipíélago is my favorite album ever by any artist, so I'm a little bit biased. But I also believe that on a song-by-song basis, but taking note of the pacing of the album, it beats both Triceratops and Amazonas by a hair. Anyway. The band was riding incredibly high on a wave of extraordinary success on a national level. So, there was some pressure on the band to continue that success but they ajusted well. First: the addition of Luis Fernando Borjas as a lead singer. He is Neguito Borjas' nephew and he had come from Gran Coquivacoa, of course. He entered the band at just 18 years old. Jorge Luis was brought over front and center, ditching the keys and so by 1995 the lead singer frontline looked something like this: Jorge Luis Chacín, Luis Fernando Borjas, Nelson Arrieta, Sundín Galué and Gustavo Aguado. 5 singers strong.

Marcos Salas (probably related to MD Juan Carlos?) left due to a misunderstanding during the album's production. He now lives in Miami and works for Univision. Germán Quintero came onboard in 1993 for the lead trumpet spot, assisted by Gustavo Arangueren, whom had already played with Guaco live on ocassions, but he was also the musical director for pop-star Franco de Vita, so he was splitting his time between both. Roldán Peña was also added in guitar around 1994, reactivating the guitar's role in the band left since Romer Quintero's departure. 

Also of note, this album marks the return of the band to Sono 2000 studios where they recorded again with Germán Landaeta. Gustavo wanted to record again there because he was inspired by Pedro Castillo's album Algo Personal. Truth be told, that album sounds a bit like new age, but Germán mixed the album to perfection adding lots of ambiance and space to their sound, which just contributes to the magic. The rhythm section for this album was recorded live in studio, as well. 

Jorge Luis continued undaunted writing well over half the album's tracks, with a couple of contributions by the great Omar Hernández, who had just moved to Miami, after Cuarto Espacio's dissolution. Legend states that Gustavo locked him in a room with a piano and didn't let him out until he had enough songs for a record. In true he just went one day to Sono2000 and knocked out  8 songs casually. Kids these days would call that a flex. 

The album starts with a quote from a Debussy book written by saxophonist Georges Gourdet that could be seen as incredibly pretentious if it weren't made true that the album that follows. The instrumental track made by Valladares, based around a drum pattern he used to practice with, skirts the line between smooth jazz and electronic music. Just as it ends a 3.2  clave can be faintly heard and we enter a straight ahead son (in 2-3, clave licence on display!) by Omar Hernández, Castígala. An incredibly infectious number, even including a tres. It heats up soon after and never lets go. 

Cómo Será follows and words are hard to describe it. It is ostensibly a ballad, but the arrangement (a brilliant one by Agustin Espina) drew it up as a moderately paced number. The guitar runs throughout the track are just indelible, the keyboard patches (an Oberheim Matrix R6 or Yamaha DX7, I was told) amplify the emotional resonance of the tune, but best of all is the mix. Cavernous and spacey, every time the tom-tom runs at the end of the chorus start, I just lose it. Great vocal work by Jorge Luis as well. The band has never managed the capture the magic of this recording live and I'm certain is nigh-impossible. They do play it quite a bit still. 

No La Juzque is a true-story. Jorge Luis did get his girlfriend pregnant, but it worked out in the end as they're still together. It starts on a 7/8 pattern on bass and drums, joined with tribal vocals by Pedro Castillo, but then it makes way for a creamy cuerpo and yet another wicked montuno section. Noche Tras Noche is something of a fan favorite, especially for the musicially-inclined. It begins with a harmonized guitar solo, which is promptly joined by the percussion section playing a modified songo rhythm. Afterwards it's just an incredibly vicious, rockin' track. Please take not of the bebop-inspired mambo sections. 

Como Es Tan Bella begins with a game of where's one. (The studio version is a bit tricky, but live they always started on the 3 of the previous bar). The verses juxtapose a syncopated drum beat with a snaky guitar line followed by a devastating coro. A neat trick is that the rhythm section throughout the album is always going hard but the lyrics themselves are very romantic in nature. However, they are never saccharine or trite. They are fully realized explotarions of love, heart-warming and touching. 

Amor De Primavera was recorded originally by Carángano in 1989 as a merengue, but this version, sung mightily by Sundín Galué is a pure tamborera that breaks into a guaguancó during the coros, Triceratops-style. It seems that Sundín always got the most emotionally mature tracks and he always did a great job with them. This would be his last album with the band, as he retired in 1996. He continued performing in Maracaibo though, he died in 2006 atter a heart attack. Quiero Verte Hoy is a pure 70s styled songo track, sung masterfully by the young Luis Fernando. It was the first track he recorded with the band, even before he had made his live debut. 

Que Cobardía is an Omar Hernández composition. I think Mirtha Medina sung it first but haven't found a recording. It features very lenghty "a caballo" sections, but also a wicked displaced mambo on the montuno. Simplemente is the emotional peak of the album, very tricky, clave-wise. Just insanely emotionally mature track. I am very fond of the mambo section at the very end too.The playing of the rhythm section is an outstanding work, as well. 

Lastly, El Sueño De Simón features Venezuelan folklore legend Simón Diaz on the introduction. The verses are a meaty guaguancó as Gustavo describes a dream (presumably by Simón himself, but that is never very clear) where all problems in his country were fixed. It's the only corny moment of the album, truth be told. It is also the first instance of having a James Brown funk-inspired section. More of that would be heard again in 1999. The album closes with another Valladares arrangement, this time of the old Orquesta Aragón standard Así Son Boncó. However, the band took inspiration from the arrangement on Johnny Pacheco's His Flute and Latin Jam LP. Hell, they even split the track, just like in Pacheco's album. (It was broken in two on the Pacheco album because the power went out while they were recording it, then they just resumed it from the mambo.) Pretty much a tune to show off their collective chops, the piano plays pretty jazz voicings, there's a great trombone solo, the rhythm section plays out and about and then we close with yet another quote that bookends the record. 10/10. Masterpiece. Tour de Force. 

The record came out in pop-star Ricardo Montaner's vanity label Hecho a Mano, plus they had an ongoing marketing campaign with a popular brand of beer around this time. The record was a success nation-wide and roughly half the album was on steady rotation on the radio. There were a couple of outtakes, both remakes: Me Gustan Las Caraqueñas and Un Cigarrito y Un Café. However, Gustavo decided that such a forward-looking project would be marred by including two old songs. And he was right! Including those two tunes would've dragged the album's cohesion and pace. Nelson Arrieta departed for a solo carrer soon after, which may be one he only had one track to sing on this album. However, he did include Cuando Vuelvas, another Omar Hernández-penned track in his first solo album, which sounds like it comes from the same Archipielago sessions. Happy hunting. 

1997 - Amazonas - Self-Released

01- Deshonestidad (Jorge Luis Chacín) 3:44
02- Esperándote (Abdénago Borjas) 4:29
03- Me Cuentan (Jorge Luis Chacín) 3:56
04- Remembranzas (Joe Torres/Papo Luca) 4:34
05- Cuando Recuerdo (Jorge Luis Chacín) 4:40
06- Deja (Jorge Luis Chacín) 5:02
07- Si Usted La Viera (Eusebio Blanco/Jorge Luis Chacín) 5:02
08- Seguiré Sin Soñar (D.D.) 4:25
09- Ella Sabe (Jorge Luis Chacín) 3:45
10- Causas (Jorge Luis Chacín) 4:58
11- Ese Rumbo Es De Los Dos (Jorge Luis Chacín) 5:27
12- Pronto Llegará (Jorge Luis Chacín) 4:21
13- Acere Bongo (Orestes Vilató) 4:11

Personnel: 

Vocals: Gustavo Aguado (tracks 01, 04, 08, 13), Luis Fernando Borjas (tracks 02, 06, 10, 11), Jorge Luis Chacín (tracks 03, 05, 07, 09), Rafael Greco (track 12)
Piano & Keyboards: Agustin Espina
Bass: Morritz Beroes
Guitar: Roldán Peña
Musical Director & Trumpet: Juan Carlos Salas
Trumpet: Gustavo Aranguren, Germán Quintero
Trombone: Norman Cepeda
Tenor Sax & Bass Clarinet: Rafael Greco
Tambora: Yonis Flores
Charrasca: Alexis Moreno
Timbales: Julio Rivera
Congas: Nestor Pérez
Bongos & Percussion: Francisco Lujan
Drums, Guitar & Keyboards: Fernando Valladares
Background Vocals: Gustavo Aguado, Luis Fernando Borjas, Jorge Luis Chacín, Morritz Beroes 

Guest Musicians:
Piano: Victor Mestas (tracks 12, 13)
Piano & Keyboards: Fernando Giovanetti (tracks 2, 6)
Trombone: Domingo Pagliuca (tracks 04, 05, 09, 10, 12, 13)
Tenor Sax & Bass Clarinet: Julio Flores (tracks 12, 13)
Flute: Huáscar Barradas (track 07)
Congas: Vladimir Quintero (tracks 06, 13)
Cajón: Vladimir Quintero (track 07)
Percussion: Carlos "Nene" Quintero (track 12)
Vocal: Frank Quintero & Ana Valencia (track 11)
Background Vocals: Guillermo Carrasco & Pedro Castillo (track 12), Carolina Landaeta (track 09)

Production Credits: 
Produced by Gustavo Aguado
Recorded & Mixed by German Landaeta
Additional Recordings by David Pérez
Assistant Engineers: Antonio Jaric & Juan Carlos Arévalo
Recorded & Mixed at SonoDosmil Estudios (Caracas)
Mastered by Bernie Grudman 
Graphic Design: Yaremy Manzano
Cover Art: Simón Cabrera

Well, they were due for a difficult album anyway. The first idea mentioned for this record around 1996 was to come to the logical extension tracks like Las Caraqueñas and Así Son Boncó had exposed. So in 1996 there were talks of making a salsa brava covers album. That idea did not come to pass, but still the album includes 3 covers. By 1997, the Hecho a Mano deal had flopped and Guaco were left adrift without a record label. So, they did a very risky move: they decided to put it out themselves. Now, taking on DIY record production is nothing new if you're a garage rocker and you're only printing 1000 copies, but Guaco's was Venezuela's biggest band. How could they meet demand? 

 

1999 - Como Era y Como Es - Latin World

01- La Turbulencia (José Alfonso Quiñones) 4:39 
02- Movidita (Ricardo Hernández) 4:24 (from Guaco 80)
03- Pastelero (Ricardo Hernández) 4:20 (from Guaco 82)
04- Para Ella (Ricardo Hernández) 5:50  (from Guaco 82)
05- Guaco y Tambora (Ricardo Hernández) 4:30 (from Bubu Guaco 1973 and Guaco 82)
06- Por Si Vuelves (Jorge Luis Chacín) 5:20 
07- Cepillao (Ricardo Hernández) 3:53 (from Guaco 83)
08- Maracucha (Ricardo Hernández) 4:57 (from Guaco 80)
09- Billetero (Ricardo Hernández) 3:35 (from Guaco 81)
10- Sentimiento Nacional (Ricardo Hernández) 4:06 (from Guaco 85)
11- Si Mi Cama Está Vacía (Giraldo Piloto) 5:31 
12- Aguas de Cristal (José Luis Suárez) 3:54 (from Tercera Etapa 1986)
13- Medio Loco (Jorge Luis Chacín) 3:51 
14- Disco Guaco (Ricardo Hernández) 3:44 (from Guaco 81)

Personnel: 

Vocals: Gustavo Aguado (tracks 01, 04, 08, 12). Luis Fernando Borjas (tracks 02, 07, 09, 11, 14), Jorge Luis Chacín (tracks 03, 06, 10, 13, 14), Nelson Arrieta (tracks 05, 14)
Bass: Morritz Beroes
Piano & Keyboards: Victor Mestas
Guitar: Pedro Navarro
Trumpet: Germán Quintero, Juan Carlos Salas & Gustavo Aranguren
Tenor Sax: Julio Flores
Tambora: Yonis Flores
Charrasca: Alexis Moreno
Timbales: Julio Rivera
Congas: Néstor Pérez
Bongo & Percussion: Francisco Lujan
Drums: Fernando Valladares

Guest Musicians:

Guitar: Juan Angel Esquivel (tracks 1, 4, 11, 13, 14), Eddy Pérez (track 6)
Cuatro: Rafael Salas (track 2)
Tenor Sax: Rafael Greco (tracks 2, 3, 6, 8), Konstantin Klichtornyl (track 7)
Chekere: José Gregorio Hernández (tracks 1, 10), José Martínez (track 11)
Djembe & Chekere: Rafael Solano (track 4)
Timbales: Vladimir Quintero (tracks 6, 9)
Piano: Joel Uriola (track 7)
Bass Clarinet: Rafael Greco (track 8)
Guiro: José Martínez (track 13)
Congas: José Gregorio Hernández (track 14)
Backing Vocals: Norma Hernández, Marycel González, Norma Barrero & José Alfonso Quiñones (track 1)

Production Credits: 

Produced by Gustavo Aguado & Juan Carlos Salas
Musical Direction: Juan Carlos Salas
Executive Production: Samuel Quiros
Recorded by Juan Carlos Salas
Recording Assistant: Rafael Salas
Recorded at Guaco Estudios (Caracas)
Mixed by Eric Schilling & Cesar Sogbe
Mixing Assistants: Steven Reines & David Hecier
Mixed at New River Studios (Ft. Lauderdale, FL)
Mastered by Mike Fuller at Fuller Sound (Miami, FL)
Graphic Design: Carolina Zalles
Cover Artwork: Pedro León Zapata
Photos: Memo Vogeler


2000 - Equilibrio - Latin World

01- Mami's Bogaloo (José Alfonso Quiñones) 4:06 
02- Señor Weiss (Jorge Luis Chacín) 4:10 
03- Como Camina (Alejandro Silva) 4:38 
04- Bailaora (José Alfonso Quiñones) 3:46 
05- Sólo Con Sus Recuerdos (Jorge Luis Chacín) 4:10 
06- I Want To See Me In Your Eyes (Jorge Luis Chacín) 3:49 
07- La Culpable (Marcos Chacín) 4:00
08- Una Estrella Como Tú (Fernando Molina/Jorge Luis Chacín) 4:12 
09- Si Las Paredes Hablaran (José Alfonso Quiñones) 3:23 
10- Hay Fuego En El 23 (Arsenio Rodríguez) 4:17 
11- Equilibrio (Abdenago "Neguito" Borjas) 3:53 

Personnel: 

Vocals: Luis Fernando Borjas (tracks 01, 06, 09), Jorge Luis Chacín (tracks 02, 05, 10), Nelson Arrieta (tracks 03, 08, 11), Gustavo Aguado (tracks 04, 07)
Bass: Morritz Beroes
Piano & Keyboards: Victor Mestas
Guitar: Pedro Navarro
Trumpet: Juan Carlos Salas, Germán Quintero & Gustavo Aranguren
Tenor Sax: Julio Flores
Trombone: Norman Cepeda
Tambora: Yonis Flores
Charrasca: Alexis Moreno
Timbales: Julio Rivera
Congas: Néstor Pérez
Bongo & Percussion: Francisco Luján
Drums: Fernando Valladares

Guest Musicians:
Guitar: Juan Angel Esquivel
Congas & Percussion: Vladimir Quintero
Trombone: Domingo Pagliuca
Backing Vocals: Javier González (track 08)

Production Credits: 
Produced by Gustavo Aguado & Juan Carlos Salas
Musical Direction: Juan Carlos Salas
Executive Production: Samuel Quiros
Recorded by Juan Carlos Salas
Recording Assistant: Guillermo Govea
Recorded at Guaco Estudios (Caracas)
Mixed by Joe Smith & Eric Schilling
Mixing Assistant: Matthew T. Ryan
Mixed at Transcontinental Studios (Orlando, FL)
Mastered by Mike Fuller at Fuller Sound (Miami, FL)
Graphic Design: Virtual Imaging Systems
Cover Artwork: Carlos Cruz Diez

2002 - Galopando - Latin World

01- El Buzo (Alejandro Silva) 4:26
02- Ella Es Esa Estrella (Julio Fowler) 4:20
03- Te Lo Dire Al Oido (Luis Javier Márquez) 4:45
04- Por Ti y Por Mi (Luis Javier Márquez) 4:35
05- Pa' Colombia (José Alfonso Quiñones) 4:03
06- Dulce y Bonito (José Alfonso Quiñones) 3:55
07- Dale Mambo (Julio Fowler) 3:41
08- Para Volar (Luis Javier Márquez) 3:21 
09- Ahora Si (Fernando Valladares) 4:56
10- Tumbalo (Julio Fowler) 3:53
11- La Reina (Armando Molero) 2:06 

Personnel: 

Vocals: Gustavo Aguado (tracks 01, 05), Nelson Arrieta (tracks 02, 04, 09), Luis Fernando Borjas (tracks 03, 06, 08, 10)
Bass: Morritz Beroes
Piano & Keyboards: César Orozco
Guitar: Carmelo Medina
1st Trumpet: Germán Quintero
Trumpet: Juan Carlos Salas
Sax: Julio Flores
Trombone: Norman Cepeda
Tambora & Percussion: Yonis Flores
Charrasca & Percussion: Alexis Moreno
Timbales & Percussion: Julio Rivera
Congas & Percussion: Néstor Pérez
Bongo & Percussion: Francisco Lujan
Drums & Percussion: Fernando Valladares

Guest Musicians:
Trombone: José Rada (track 01)
Backing Vocals: Group Shesura (tracks 03, 05, 08)
Vocals: Julio Fowler (track 07)

Production Credits: 
Produced by Gustavo Aguado
Musical Direction: Juan Carlos Salas
Executive Production: Samuel Quiros
Recorded by Juan Carlos Salas, Rafael Salas & Hermes Carreño
Recorded at Guaco Estudios (Caracas)
Mixed by Cesar Sogbe at South Beach Studios (Miami Beach, FL)
Graphic Design: ABI Gerencia Gráfica, C.A.
Cover Artwork: Alirio Palacios
Photos: Daniel Machado

martes, 15 junio 2021, 02:56 am